If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

I have been very fortunate in that I'm not doing all network shows or all cable shows, television has really become a year-round process in the way that it's made.

I think the thing that music can do is be unsettling. It is abnormal - music that's perceived to be different in an unresolved or unusual way.

With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.

What I love more than anything is Jerry Goldsmith's 80's music and Bernard Herrmann's genre music from the 50's and 60's.

Tension, especially with regard to horror, is a very difficult thing to sustain in the big sense.